But the unifier is Trifilio’s voice: sweetly pleading, sweetly exasperated, sweetly resigned, sweetly vengeful.Ģ1 Savage and Metro Boomin, “Savage Mode II” Benny the Butcher, “Burden of Proof” Natanael Cano, “Trap Tumbado” The Chicks, “Gaslighter” City Girls, “City on Lock” Code Orange, “Underneath” Conway the Machine, “From King to a God” Drake, “Dark Lane Demo Tapes” Freddie Gibbs and the Alchemist, “Alfredo” Ariana Grande, “Positions” Hardy, “A Rock” Haux, “Violence in a Quiet Mind” Ian Isiah, “Auntie” Junior H, “Atrapado en un Sueño” King Von, “Levon James” Lil Durk, “Just Cause Y’all Waited 2” Lauren Mascitti, “God Made a Woman” John Moreland, “LP5” Jessie Reyez, “Before Love Came to Kill Us” Dua Saleh, “Rosetta” Sunday Service Choir, “Jesus Is Born” Myke Towers, “Easy Money Baby” Jessie Ware, “What’s Your Pleasure?” Waxahatchee, “Saint Cloud” The Weeknd, “After Hours” Hailey Whitters, “The Dream” YoungBoy Never Broke Again, “Top”
She fronts Beach Bunny, a Chicago band that toys with flickers of garage rock, pop-punk and indie rock. Lili Trifilio writes chirpy songs about awful sadness. Masts of Manhatta walks this line throughout, sometimes getting quite a bit livelier, sometimes indulging in decidedly moody textures, always twisting just slightly from the expected, making for a record that’s quite intriguing upon the first listen and better on repeats, where the songs begin to dig in and all the textures gain resonance.Lili Trifilio has recently been focusing on a new solo project alongside her work with Beach Bunny which is kind of on pandemic hiatus, Friday, Sept. To an extent, Bonham lays out her album’s thesis on “We Moved Our City to the Country,†a knowing satire of hipsters fleeing the urban jungle for faux authenticity, where she feels the pull of the two extremes as evidenced by how her sawing violin contrasts with the cabaret shuffle of Hormel’s group. Bonham is assisted greatly by Beck guitarist Smokey Hormel and his trio, who lend her songs earthiness and art, giving this heft and welcome unpredictability. Tracy Bonham’s career trajectory seems to run in reverse with each record, she gets riskier, coming a long, long way from the bottled-up furious angst of her ‘90s alt-rock staple “Mother Mother.†Masts of Manhatta, her fourth album and first since 2005’s Blink the Brightest, ups the ante from that haunting record by accentuating its elliptical turns, its songs dodging conventional routes in favor of left turns.
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